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  1. Flowers in Giselle

    I’ve always assumed this to be the case
  2. What a good review - and well worth the re-write! I really like all three acts but entirely agree that Act 2 is 'exhuberant and uplifting' and that there are a 'host of very strong performances'.
  3. Nor me, Penelope. I had hoped that any BCF member who has read my two posts in this thread, particularly the fourth paragraph of my post from yesterday (top of page 2) in conjunction with posts in other earlier threads would understand exactly what I (and some others) are concerned about. I make no criticism of you or any BCF member and merely posted to express what I perceived to be a proper concern regarding personal remarks posted about dancers, either specific or implied, that I believed were inappropriate in this day and age.
  4. I’m sorry about the way this thread has developed since my initial, and carefully worded post. I think I may have been a little too opaque. I was certainly not prompted to post because of comments on techniques or stage slips. What did concern me were remarks suggesting that a particular dancer might have owed his casting to having a ‘pretty face’ and the suggestions that young dancers wanting to whistle blow on treatment they found onerous should have failed to identify themselves. These remarks were neither criticism nor appropriate in my opinion
  5. As a longtime BCF follower I have, recently, become concerned about what I perceive to be a small, but significant, change in the general tone of remarks made in some of the more recent threads. I appreciate that IT posting has become 'instant' and this is something we all have to live with but I do wonder if some of the posts to which I refer below have been 'posted in haste' and without full consideration. Recent examples include criticism of particular dancers and their costumes, and of ballet companies and their internal procedures (notwithstanding press articles and blogs). In one thread, critical personal remarks appear to have been made by forum members of other forum members. I am not (at least I hope I’m not) in current idiom a 'snowflake'. I read and welcome constructive criticism and informed opinions. Almost all BCF posters are better informed than me, and far more knowledgeable, about ballet but I was brought up on the premise that, 'if you can’t say something nice, it’s better to say nothing', and, whilst generally welcoming constructive criticism, I have begun to wonder if some of the more recent postings have become unnecessarily critical in both content and of persons.
  6. Just seen Laura Morera and thought she was terrific as Giselle
  7. I completely agree with this post. I had intended responding to the earlier post that dancers 'should put up or shut up' but Nina G expresses my view far more eloquently. I had difficulty accepting that in this day and age, when the press regularly reports public interest concerns about abuses of power, whether real or imagined, that possible victims should be criticised for failing to disclose their names.
  8. I very much liked the longer skirts worn by the corps in Dowell’s Swan Lake and really hope that the new version to come doesn’t put the swans in tutus.
  9. What about 'Winter's Tale', one of the most exuberant and exhilarating ballets around, IMHO?
  10. In other words, dancing is all very well, but a great dancer also ought to be able to act the part.
  11. I’m well into double figures so far as Sylphide is concerned and, as I may have indicated in my initial post, have watched Rojo, Cojocaru and Lamb dance the title role. I have no reservations about either Dronina's dancing or her characterisation (or acting). I thought she was good, as I thought Hernández and Haworth were both good. I omitted mention of Kraus, but I liked him in the part of 'Gurn' (apropos of which, this is a Danish take on the Scottish highlands) and thought he danced the role with charisma. I am interested to note the suggestion that the 'farmhands' were engaged in a 'comedy act'. In every performance I’ve seen, the two retainers puff and pant in exactly the same fashion. I’d always assumed it was Bournonville's staging rather than a recent introduction by the ENB.
  12. Started at 1930 and finished at 2230, although it was first night and they did have cast lists available, just like at the RB.